Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings – a who’s who” on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn’s sonatas will further cement their place in the world of music. Volume I contains Haydn’s early sonatas very much still born of the spirit of the early Classical period: catchy music fun to play often at a moderate level of difficulty without which modern piano instruction would be nearly unthinkable. Time and again the authenticity of individual sonatas from this grouphas been questioned – the preface by Armin Raab the Scholarly Director of the Joseph Haydn Institute now provides comprehensive information on new findings regarding this important topic area.

Concerto in F for Piano and Orchestra-Gershwin’s Concerto was premiered on December 3 1925 in Carnegie Hall – the epicentre of New York’s classical music scene. It belongs to a group of self-imposed experiments” with which the composter sought to make inroads into serious” music: I have only written three ‘opuses’ so far – ‘The Blue Monday Opera ’ ‘The Rhapsody in Blue’ and the ‘Concerto.’ I have devoted much time to these works but they are of course not my regular work. They are experiments – laboratory work in American music.” For his edition Norbert Gertsch reviewed a multitude of autograph and printed sources in the USA and for the first time presents an Urtext edition of this very popular pianoconcerto suffused by the jazz idiom. At the same time Breitkopf & Härtel offers both the full score and orchestral parts by the same editor.

für Flöte Violine und Continuo-Bach’s Trio Sonata BWV 1038 for Flute Violin und Continuo proposes a conundrum. It has survived as a set of parts in Johann Sebastian Bach’s hand – yet the source does not give a composer. Thus its authenticity has been called into question time and again. According to the latest research however this tone sensitive sonata is presumed to be an original work by Bach. Our editor Peter Wollny a declared expert outlines the reasons for this in detail. The violin part is to be played in scordatura according to the source so we have provided a part in original notation as well as in standard notation for regularly tuned violins. Bach ’s Trio Sonata In G BWV 1038 For Flute Violin And Continuo has survived as a set of parts in Johann Sebastian Bach ’s hand – yet the source does not give a composer. Thusits authenticity has been called into question time and again. According to the latest research however this tone sensitive sonata is presumed to be an original work by Bach . Editor PeterWollny a declared expert outlines the reasons for this in detail. The violin part is to be played in scordatura according to the source so this version has provided a part in original notation as well as in standardnotation for regularly tuned violins.

Song Cycle-1840 was Schumann ’s famous “year of song” that brought forth over 100 lieder. They included Myrthen op. 25 which he dedicated “to his dear bride” Clara Wieck-Schumann. Besides famous songs such as “Widmung” “Lotosblume” and “Nussbaum” to texts by German poets the collection also saw Schumann venture further afield whether to the Scottish Highlands with settings of Robert Burns or to Italy for the “Venetian Songs” of Thomas Moore. Schumann specialist Kazuko Ozawa has examined the first edition of 1840 and all the manuscript sources. Among the dedicatory autograph copies she has also discovered interestingearly versions of individual songs that are here published in an appendix. Our Urtext edition is rounded off with an extensive history of how Myrthen was composed. This volume is a superlative addition to G. Henle Verlag’s series of Robert Schumann ’s song cycles.

Two of Joseph Haydn’s three concertos for horn and orchestra have been lost while two further horn concertos have often been mistakenly ascribed to him. Haydn’s sole surviving horn concerto whose authenticity is not in doubt is this one in D major Hob. Vlld:3. Our Urtext edition is based on the Haydn Complete Edition and offers two solo parts: that in D follows Haydn’s autograph while we also supply a part for the modern horn in F. Solo cadenzas are provided for all three movements. The cadenzas printed in the enclosed horn parts are by horn player Johannes Ritzkowsky as far as possible they exploit the limited possibilities offered by the natural horn of Haydn’s own time.They should not cause today’s horn players any great problems and will be a welcome bonus.

It was not his large piano sonatas but rather his short characteristic pieces that established Franz Schubert’s fame. Like his art songs they too are full of spontaneous lyrical inspiration. The two greatly charming Scherzi D. 593 presumably composed already in 1817 stand at the threshold of Schubert’s phase of dance compositions for the piano. The first dance-like graceful Scherzo is in B-flat major. The second more emotional Scherzo in D-flat major has a Ländler-like A-flat major trio as its middle section. The preface and critical report provide information on the source situation of this accurate Urtext edition.

Version for Violoncello-Unlike some of his other late works Franck’s Violin Sonata (HN 293) composed in 1886 was well-received by the public and critics from the very start. The beautiful arrangement for cello published in January 1888 distinguishes itself from the numerous other arrangements in that Franck expressly authorised it. The cellist Jules Delsart who had heard a performance of the sonata in Paris in December 1887 was so delighted by it that he asked Franck’s permission to make a transcription of the violin part for his own instrument. Delsart remained close to the original- he left the piano part unaltered and transposed the violin part only where necessary and appropriate into thelower register. César Franck 's Sonata For Piano And Violin In A . Urtext edition for Cello. Unlike some of his other late works Franck ’s Violin Sonata (HN293) composed in 1886 was well-received by thepublic and critics from the very start. The beautiful arrangement for Cello published in January 1888 distinguishes itself from the numerous other arrangements in that Franck expressly authorised it. The cellistJules Delsart who had heard a performance of the sonata in Paris in December 1887 was so delighted by it that he asked Franck ’s permission to make a transcription of the Violin part for his own instrument. Delsartremained close to the original; he left the Piano part unaltered and transposed the Violin part only where necessary and appropriate into the lower register.

In memory of the deceased illustrator and architect Viktor A. Hartmann (1834–1873) an exhibition of his watercolours and drawings was organised in 1874. Modest Mussorgsky who had been Hartmann’s friend was inspired by his visit to this exhibition to compose the cycle “Pictures at an Exhibition” for piano solo a milestone of piano literature. He wrote it in June 1874 in St. Petersburg and subtitled it “Memories of Viktor Hartmann”. The picturesque and evocative musical language which lets the pictures come to life has remained fascinating to the present day. The source of the Henle Urtext edition is the cleanly written autograph. The layout of the musical text is based onMussorgsky’s notation. A highly authoritative Urtext edition of the original piano composition Modest Mussorgsky's Pictures At An Exhibition which was later orchestrated to become a popular symphonic work. This piano solo has been edited byPetra Weber-Bockholdt and fingered by Klaus Schilde.

It is well known that Chopin almost exclusively wrote works for solo piano. Only for the cello did he make some exceptions: two works – a Polonaise brillante and the Duo Concertant (HN 788) were written for cello and piano and he also let the cello express itself in his Piano Trio op. 8 (HN 1068). Finally towards the end of his life he honored the low-stringed instrument with a grand four-movement Sonata in g minor. Proof that it was anything but child’s play is provided by the extensive sketch material. Chopin himself claimed: “With my cello sonata I am now satisfied and now dissatisfied. I toss it into the corner then pick it up again.” Today we only have an inklingabout this struggle. The sonata with its famous melodic Largo movement is now firmly embedded in the canon of cello literature. An Urtext Edition of Frederic Chopin's Cello Sonata In G Minor Op.65 as edited by Ewald Zimmermann. Piano fingering by Klaus Schilde and Cello fingering and bowing by Claus Kanngiesser.

Franz Joseph Haydn 's Piano Trios 2nd Volume for Violin Cello and Piano. Urtext edition score and parts.

Scherzo in e flat minor op. 4-The Scherzo op. 4 was written in 1851 – Brahms was not even 20 years old – and was a kind of calling card with which the young composer and pianist introduced himself to influential musicians. He also played the Scherzo to the Schumanns several times in 1853 and thus might have inspired his older colleague to write the famous article “Neue Bahnen” (New Ways). In it Schumann praised “single piano pieces some of them turbulent in spirit while graceful in form”. We are publishing the work that has until now only been available in the volume HN 38 in a single edition. It has recently been revised following the musical text of the new Brahms Complete Edition and now also containsnew fingerings by Andreas Boyde. Johannes Brahms was not even 20 years old when he wrote The Scherzo Op.4 in 1851. The young composer and pianist used it as a kind of 'calling card' to introduce himself to influentialmusicians. He also played the Scherzo to the Schumanns several times in 1853 and thus might have inspired his older colleague to write the famous article “Neue Bahnen” (New Ways). In it Schumann praised “singlepiano pieces some of them turbulent in spirit while graceful in form”.

Franz Schubert composed the song “Death and the Maiden” in 1817 and in 1824 used that melody in the theme-and-variations second movement of his String Quartet in d minor D. 810. The song’s popularity in the second half of the 19th century was responsible for the string quartet becoming known by the title “Death and the Maiden”. Like all of Schubert’s mature chamber music works it captivates with its technical perfection and high intellectual demands. Very prominent here is Schubert’s desire to motivically link the movements together. Oddly enough the work was neither performed nor published during his lifetime the incomplete autograph score and the posthumous first editionof 1831 have thus served as the sources for our edition. String quartet parts.

Ludwig van Beethoven’s 32 Variations on an Original Theme in C minor (WoO 80) for piano dating from 1806 are both a magnificent concert piece and an outstanding etude. Only with Beethoven can an eight-measure theme contain so much melodic and harmonic energy. The variations of eight measures each flow into one another powerfully and without interruption offering a veritable compendium of Beethoven’s piano technique. The effect is of a mighty passacaglia. With the more lengthy final variation the work fades to a close. Ludwig Van Beethoven's 32 Variations In C Minor WoO 80 as edited by Friedhelm Klugmann and fingered by Walter Georgii.

Chopin’s furioso c-minor etude has become famous as the “Revolutionary Etude”. According to unsubstantiated legend the composer wrote it in September 1831 when news of the crushing of the Polish uprising and the capture of Warsaw by the Russian army began to spread. Yet even independently of such extramusical aspects the etude with its thundering plunging runs and rolling left-hand figures ranks among Chopin’s most moving and overpowering works. Those who are not ready to tackle the complete volume of Chopin Etudes (HN 124) will be well served by this separate Urtext edition.

The extraordinary popularity of the first two books of Lyric Pieces (opp. 12 and 38) was interpreted differently by Grieg and his publisher. Whereas Grieg would have liked to call his third book “Spring Songs ” so as to counteract the impression of a serial publication the publisher recommended keeping the Lyric Pieces “brand name” – and he got what he wanted. Huge and long-lasting success quickly followed: some 20 years later the publisher proudly reported to Grieg that his Lyric Pieces especially opp. 12 and 43 were selling “like hot cakes”.

Urtext Edition-Brahms had already composed over 20 string quartets (he confessed to a friend that he had burnt all of that “stuff”) before he finally presented his Opus 51 to the public. In the end only three surviving works managed to withstand his high self-criticism. We are now publishing the two passionate dark Quartets op. 51 separately from the rather more lively Opus 67 about which a reviewer of the time wrote “This time Brahms seems to have taken it upon himself to walk along a sunny path through a meadow”. The basis for this edition is the volume in the New Complete Edition of Brahms’ works published in 2004 by Henle for which previously missing sources in a Swiss bequest wereconsulted for the first time.? Brahms had already composed over 20 String quartets (he confessed to a friend that he had burnt all of that “stuff”) before he finally presented his Opus 51 to the public. In the end only three surviving works managedto withstand his high self-criticism; numerous layers of corrections bear witness to his struggle with each detail. We are now publishing the two passionate dark Quartets Op. 51 separately from the rather more lively Opus67 . The basis for this edition is the volume in the New Complete Edition of Brahms ’ works published in 2004 by Henle for which previously missing sources in a Swiss bequest were consulted for the firsttime.

Clarinet Quintet in A major op. 146-With his clarinet quintet begun in 1915 Reger was remembering his role models Mozart and Brahms whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger’s last opus. Shortly after he had sent it to his publisher he died of heart attack in May 1916. The quintet was to become his swan song first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later we are now publishing it for the first time in an Urtext edition edited by the Reger scholar Michael Kube. With his Clarinet Quintet begun in 1915 Reger was remembering his role models Mozart and Brahms whose works in this genre he particularly admired. This melancholic quintet that is workedthrough in a strictly motivic way was to be Reger ’s last opus. Shortly after he had sent it to his publisher he died of heart attack in May 1916. The Quintet was to become his swan song first performed at a memorial forthe composer on 6 November 1916. Almost one hundred years later Henle are now publishing it for the first time in an Urtext edition edited by the Reger scholar Michael Kube.

Clarinet Quintet in A major op. 146-With his clarinet quintet begun in 1915 Reger was remembering his role models Mozart and Brahms whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger’s last opus. Shortly after he had sent it to his publisher he died of heart attack in May 1916. The quintet was to become his swan song first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later we are now publishing it for the first time in an Urtext edition edited by the Reger scholar Michael Kube. With his Clarinet quintet begun in 1915 Reger was remembering his role models Mozart and Brahms whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictlymotivic way was to be Reger ’s last opus. Shortly after he had sent it to his publisher he died of heart attack in May 1916. The quintet was to become his swan song first performed at a memorial for the composer on6 November 1916. Almost one hundred years later we are now publishing it for the first time in an Urtext edition edited by the Reger scholar Michael Kube.

Easy Piano Pieces - Classical and Romantic Period - II-The second volume of the Leichte Klavierstücke addresses itself to the somewhat more experienced pianist and the level of difficulty of the individual pieces fluctuates between levels 3 and 6. The focal point here lies on works of the romantic era: starting with Mozart and Beethoven we stop to briefly enjoy some Schubert before reaching Mendelssohn Schumann and Chopin who are followed by Brahms Liszt and Tchaikovsky. It was our intent to present different genres such as variations rondos dances and the romantic “character pieces” such as for example Schubert’s Moments musicaux Mendelssohn’s Lieder ohne Worte or Chopin’s Préludes This volume includes: Johann Wilhelm Hässler: 6 Pieces from Etudes en Vingt-quatre Valses op. 49 Wolfgang Amadeus Mozart: Sonata movement g minor K. 312 (590d) Wolfgang AmadeusMozart: March C major K. 408/1 (383e) Ludwig van Beethoven: Minuet E flat major WoO 82 Ludwig van Beethoven: For Elise Piano Piece a minor WoO 59 Franz Schubert: Allegretto cminor D 915 Franz Schubert: Moment musical f minor op. 94 3 D 780 Franz Schubert: Moment musical A flat major op. 94 6 D 780 Felix Mendelssohn Bartholdy: Song without Words Emajor op. 30 3 Theodor Kirchner: 6 Preludes from op. 65 Peter Iljitsch Tschaikowsky: 3 Pieces from Children's Album op. 39 Robert Schumann: Träumerei from Scenes from childhoodop. 15 7 Robert Schumann: Phantasietanz from Albumblätter op. 124 5 Robert Schumann: Romance F sharp major op. 28 2 Johannes Brahms: Waltz E major op. 39 2 (easy version by thecomposer) E major op. 39 2 Franz Liszt: Consolation No. 1 E major Frédéric Chopin: Prelude e minor op. 28 4 Frédéric Chopin: Prelude D flat major op. 28 15 [Raindrop] Frédéric Chopin: Mazurka g sharp minor op. 33 1 Frédéric Chopin: Mazurka g minor op. post. 67 2 Frédéric Chopin: Waltz a minor op. 34 2 Frédéric Chopin: Waltz F minor A flat major (two versions) op. post. 70 2

für Violoncello und Klavier / for Violoncello and Piano-At the beginning of the 1870s Saint-Saëns displayed a particular partiality for the violoncello. He composed his first cello sonata in December 1872 immediately after having completed the first cello concerto. It was presumably directly after thisthat he wrote the Allegro appassionato for Cello and Piano op. 43 that also appeared in a version for orchestra three years later. We do not know why he wrote the work but it is likely that after having written two weighty works for cello Saint-Saëns wanted to write something “easier” that was also suitable as an encore. David Geringas kindly provided the fingering and bowing for the brilliant cello part. Camille Saint-Saëns Allegro Appassionato Op. 43 for Cello and Piano. Urtext edition score. At the beginning of the 1870s Saint-Saëns displayed a particular partiality for theVioloncello. He composed his first Cello sonata in December 1872 immediately after having completed the first Cello concerto. It was presumably directly after this that he wrote the Allegro Appassionato for Celloand Piano op. 43 that also appeared in a version for Orchestra three years later. We do not know why he wrote the work but it is likely that after having written two weighty works for Cello Saint-Saëns wanted towrite something “easier” that was also suitable as an encore. In this Henle Urtext edition David Geringas has kindly provided the fingering and bowing for the brilliant Cello part.